განახლდა ნოემბერი 2026 · დალაგებულია ჩვენი პოპულარობის ქულების მიხედვით (ძიება, ნახვა და შეკვეთები თითოეული ნამუშწაროსთვის) · 344 ნამუშევარი არმანდ გიიომენი ჩვენს კატალოგში
მოკლედ რომ ვთქვათ
Place Valhubert (1872) არის არმანდ გიიომენი-ის ის ნამუშწარო, რომელიც ყველაზე მეტ ყურადღებას იქცევს; ორიგინალი იმყოფება Musée d'Orsay-ში, პარიზი. ამის შემდეგ, მზერა გადადის River Scene (1890)-სა და Paris - Quai de la Rapee (1885)-ზე. ჩვენს კატალოგში არსებული არმანდ გიიომენი-ის 344 ნამუშწაროდან ეს 100 ყველაზე ცნობილია; თითოეული მათგანი წარმოადგენს უნიკალურ ორიგინალს, რომელიც წარმოდგენილია წელით, მუზეუმითა და იმ მიზეზით, რის გამოც ის დღემდე ცოცხლობს.
The air in 1872 carries a chill that settles upon the riverbank. Snow has smoothed the edges of the city, coating the ground in a pale, quiet layer. Along the sidewalk, trees rise like dark, skeletal fingers against a sky of muted blue. They stand still, their bare branches etched sharply against the light. Beneath them, the world is a study in frost and movement.
Around 1890, the banks of the Seine became a stage for the tension between nature and the encroaching modern age. This work captures a bustling waterway where the quietude of leisure meets the grit of commerce. Several boats navigate the expanse—some barges laden with cargo, others smaller vessels drifting through calmer stretches. In the distance, the horizon is punctuated by the dark, vertical silhouettes of smoking factory chimneys, a subtle…
In this 1885 oil on canvas, we find ourselves positioned at the edge of the water, observing the industrial rhythm of the Quai de la Rapée. There is a certain weight to the scene, a sense of the heavy, working life that defined the Parisian riverfront during this period. A large cargo ship or barge dominates the left side of the composition, its massive form anchored in the midground, while…
Madame Guillaumin Reading is an oil on canvas painting created by the French artist Armand Guillaumin. Dated 1882, this work is an impressionist portrait of a young girl. The subject is positioned outdoors, seated amidst a landscape of tall grass and foliage. The composition focuses on the girl as the central figure, set against a background of trees and a distant landscape that provides a sense of depth through atmospheric…
The water of the harbor rests in muted blues and grays, a heavy expanse that mirrors a sky filled with drifting clouds. Boats sit moored in the middle ground, their dark, ochre hulls cutting through the shimmering surface. Along the shoreline, indistinct buildings rise like shadows against the horizon. The scene captures a quiet moment of transit and stillness at the Quai d'Austerlitz. Light filters through an overcast sky, casting…
A vase of flowers sits at the center of a wooden table, holding its position with a heavy, silent grace. Around this floral heart, the world is composed of everyday things: a suitcase tucked into the upper corner, a bowl, a cup, and several books. Two volumes rest near the bottom left, while another lies to the right. The scene is a study in stillness. A pair of blue gloves…
To gaze upon this portrait is to be invited into a moment suspended in time—a quiet afternoon steeped in the cultivated elegance of late 19th-century Parisian life. The subject, seated within an ornate chair, embodies a serene contemplation, her posture suggesting both intellectual engagement and profound repose. She is captured mid-activity, seemingly absorbed by the pages of a book, yet the surrounding details whisper tales of a richer, more decorative…
The Bouchardon Lock emerges from the brush of Armand Guillaumin, a painter whose life began in Paris, France, in 1841. This work, which appears in various records as about 1908, captures a specific moment of light and water. Guillaumin moves through the landscape with a hand that seeks the immediate sensation of the river and the valley. He remains a presence in the history of French painting until his death…
The river flows with a steady, rhythmic grace, carving its way through a rocky bed that catches the soft, diffused light of an overcast sky. Along the banks, the trees are heavy with the weight of the changing season, their leaves glowing in shades of golden yellow, orange, and pink. These bursts of color dominate the upper reaches of the scene, casting deep shadows of green, blue, and purple into…
In the quiet, contemplative depths of Self Portrait with Easel, we are invited into a private moment of creative gestation. Painted in 1878 by the French Impressionist master Ferdinand Guillaumin, this work serves as more than just a likeness; it is a window into the psychological landscape of a creator at work. The painting captures the artist seated before his easel, his gaze directed toward the viewer with an expression…
Rocks at Trayas1915
12
La Seine
13
The Arcueil Aqueduct at Sceaux Railroad Crossingჩიკაგოს ხელოვნების ინსტიტუტი
14
Nanteuil-sur-Marne1911
15
The Sand Quarry1895
16
Seaside at Agay1900
17
Self-Portrait1895 · Ohara Museum of Art
18
Paysage boise à l'étang
19
The Seine at Charenton1878 · Musée d'Orsay
20
Villiers-sur-Morin1905
21
Paysage de la Creuse 1
22
The Banks of the River
23
Madame Guillaumin Sitting in a Garden1890
24
Mill of Pont Maupuit1900 · ჩიკაგოს ხელოვნების ინსტიტუტი
25
The Ruins of the Chateau at Crozant1899
26
Hollow in the snow1869 · Musée d'Orsay
27
Still Life with Casserole1867
28
The Seine at Paris (also known as Quai de la Rapee)1871 · ჰიუსტონის fine arts მუზეუმი
29
Painting1876 · ხელოვნების, არქიტექტურისა და დიზაინის ეროვნული მუზეუმი
30
Quai de Bercy, circa 18741874 · Carnavalet Museum
31
Les Environs de Paris1874 · ბირმინგემის მუზეუმი და სახელოვნებო გალერეა
32
La Seine1874 · სან-ფრანცისკოს fine arts მუზეუმები
33
The Seine at Charenton1874 · ნორტონ სიმონის მუზეუმი
34
The Bridge of Louis Philippe1875 · National Gallery of Art
35
Snow1876
36
Rue de Clamart at Vanves1873
37
Pont Marie, Quai Sully1878
38
The Seine1873
39
La Route Tournante1877
40
Portrait of a Young Woman1875
41
Damiette - Apple Trees1884 · Musée d'Orsay
42
The Path to the Valley1885 · პატარა პალატა
43
Painting1880 · ხელოვნების, არქიტექტურისა და დიზაინის ეროვნული მუზეუმი
44
Quai de Bercy1881
45
Confluence of the Marne and the Seine, Île de France1885
46
Pont Marie from the Quai d'Anjou1883
47
Palaiseau - Snow Effect1883
48
Le Charrois au bord de la Seine1882
49
The Quay at Rouen1882
50
Quai de Bercey1880
51
Damiette (also known as Vallee de Chevreuse)1880
52
The Seine at Charenton1880
53
Quai Saint Bernard in the Snow1882
54
Laundry Boat at Charenton1880
55
The Little Thieves1885
56
Epinay-sur-Orge1884
57
Vase of Chrysanthemums1885
58
Saint-Palais, the Pointe de la Douane, August 92, 10 o'clock in the morning1892 · პატარა პალატა
59
Village in Ile-de-France1888
60
Woman and Child in Landscape1892 · Davis Museum and Cultural Center
61
Ile de France1888
62
Quay de Bercy1891
63
The Quay d'Austerlitz, Morning1886
64
Landscape at Breuillet1890
65
Pond with Willows, Îli-de-France1889
66
Le Pleteau Bromant a Pontgibaud (also known as Puy de Dome)1890
67
la Manche Landscape1890
68
Landscape - the Creuse in the Snow1890 · Musee du Petit Palais
69
Grainstacks1891 · Musee du Petit Palais
70
Damiette Landscape1890
71
Horses in the Sand at Ivry1891
72
The Rock Breaker1890 · Rhode Island School of Design Museum of Art
73
The Sea at Pointe de la Perriere, Saint-Palais1892
74
Small Valley at Pontgibaud1890
75
Sifting Sand1891
76
Passers-by in Paris in Winter1888
77
Portrait of Madame Guillaumin1892
78
Rock Cliff on the Baumette Headland1893 · Wallraf-Richartz-Museum
79
Rocks at Agay1895 · პატარა პალატა
80
Les ruines du château de Crozant1898 · Musée d'Unterlinden
81
Vallée de la Creuse1895 · Musée d'Unterlinden
82
Mountainous landscape1895 · ბავარიის სახელმწიფო ფერწერის კოლექციები
83
Grainstacks in Île-de-France1894 · Museum Barberini
84
View of Crozant1898
85
The Sea at Saint-Palais1895 · Wallraf-Richartz-Museum
86
The Ruins at Crozant1897
87
La Creuse Landscape1895
88
Madame Guillaumin Writing1894
89
Madame Guillaumin Reading in the Garden1895
90
Landscape in the Vicinity of Rouen1898
91
The Platin Rock at Saint-Palais1893
92
Child Eating Soup1894
93
Ile de France Landscape1895
94
Saint-Julien-des-Chazes, Allier1895
95
Orchard at the Edge of the Woods in Saint-Cheron1893
96
Snow at Crozant1898
97
Saint Palais, Pointe de la Perriere1893
98
Landscape - the Creuse1897
99
Sunset on the Creuse1898
100
Red Rocks1894
ამ ორიგინალებში ყველაზე ხშირად განმეორებადი არის 네 თემა, რომელთაგან თითოეულს თავისი საუკეთესო ნიმუში წარმოგვიდგება.
ამ გვერდზე წარმოდგენილი მხატვრობის შედეგების უმეტესობას 8 მუზეუმი ინახავს.
| მუზეუმი | ქალაქი | არმანდ გიიომენი შემოქმედებაలు | ამ სიიდან მოპოვებული ნახატები |
|---|---|---|---|
 Musée d'Orsay |
პარიზი | 10 | Place Valhubert, The Seine at Charenton, Hollow in the snow |
 პატარა პალატა |
პარიზი | 5 | The Path to the Valley, Saint-Palais, the Pointe de la Douane, August 92, 10 o'clock in the morning, Rocks at Agay |
 Musee du Petit Palais |
ჟენევა | 3 | Portrait of Madame Guillaumin, Landscape - the Creuse in the Snow, Grainstacks |
 Wallraf-Richartz-Museum |
კოლონია | 3 | Rock Cliff on the Baumette Headland, The Sea at Saint-Palais |
 Musée d'Unterlinden |
კოლმარ | 3 | Les ruines du château de Crozant, Vallée de la Creuse |
 ჩიკაგოს ხელოვნების ინსტიტუტი |
ჩიკაგო | 2 | The Arcueil Aqueduct at Sceaux Railroad Crossing, Mill of Pont Maupuit |
 ხელოვნების, არქიტექტურისა და დიზაინის ეროვნული მუზეუმი |
ოსლო | 2 | Painting, Painting |
 Indianapolis Museum of Art |
Indianapolis | 2 | The Quai d'Austerlitz |
შეარჩიეთ ათწლეული, რათა ნახოთ ის ორიგინალი ნამუშევარი, რომელიც მას განსაზღვრავს.
The air in 1872 carries a chill that settles upon the riverbank. Snow has smoothed the edges of the city, coating the ground in a pale, quiet layer. Along the sidewalk, trees rise like dark, skeletal fingers against a sky of muted blue. They stand still, their bare branches etched sharply against the light. Beneath them, the world is a study in frost and movement.
In this 1885 oil on canvas, we find ourselves positioned at the edge of the water, observing the industrial rhythm of the Quai de la Rapée. There is a certain weight to the scene, a sense of the heavy, working life that defined the Parisian riverfront during this period. A large cargo ship or barge dominates the left side of the composition, its massive form anchored in the midground, while…
Around 1890, the banks of the Seine became a stage for the tension between nature and the encroaching modern age. This work captures a bustling waterway where the quietude of leisure meets the grit of commerce. Several boats navigate the expanse—some barges laden with cargo, others smaller vessels drifting through calmer stretches. In the distance, the horizon is punctuated by the dark, vertical silhouettes of smoking factory chimneys, a subtle…
Seaside at Agay is a representation of the seaside at Agay, a quiet corner of the French coast. The artist Ferdinand Guillaumin captured this landscape in 1900. The work measures 73 x 92 cm. It exists as a window into a specific moment of light and salt air.
In the evocative masterpiece Rocks at Trayas, the French Impressionist Ferdinand Guillaumin invites viewers into a world where the raw power of nature meets the delicate nuances of light. Painted in 1915, this breathtaking oil on canvas captures a moment of profound serenity along the rugged coastline. The composition is anchored by a dramatic foreground of weathered rocks, their textures rendered with such tactile precision that one can almost feel…
Place Valhubert (1872), Musée d'Orsay, პარიზი. შემდეგ მოდიან River Scene (1890) და Paris - Quai de la Rapee (1885).
31 წლის: Place Valhubert შექმნილია 1872 წელს, ხოლო არმანდ გიიომენი დაიბადა 1841 წელს.
Place Valhubert, River Scene, Paris - Quai de la Rapee, Madame Guillaumin Reading, The Quai d'Austerlitz, Still Life with Box with Blue Gloves, Portrait of Madame Guillaumin, The Bouchardon Lock, The Bouchardon Mill, Crozant და Self Portrait with Easel. ზემოთ მოცემული რეიტინგი ასახავს თითოეულის შემოქმედების წელსა და მუზეუმს.
ჩვენს კატალოგში წარმოდგენილია 344 ნამუშწევრი არმანდ გიიომენი-ისგან, დათარიღებული 1867-დან 1915-მდე.
ძირითადად Musée d'Orsay (პარიზი), პატარა პალატა (პარიზი) და Musee du Petit Palais (ჟენევა)-ში. ზემოთ მოცემულ მუზეუმების ცხრილში ისინი ყველა listed.
1890s-ში: ამ გვერდზე წარმოდგენილი 100 ნამუშწარwerksიდან 46 შეიქმნა მაშინ, მათგან River Scene.
ამ გვერდზე ყველაზე ადრეული არის Still Life with Casserole (1867), ხოლო ყველაზე გვიანდელი — Rocks at Trayas (1915).
Landscape (17), Trees (10) და River (6), ამ გვერდზე წარმოდგენილ 100 ნამუშწარეს შორის.
Oil On Canvas, ამ გვერდზე არსებული 100 ნამუშწაროსგან 19 ცალიდან.
Impressionism, ამ გვერდზე წარმოდგენილი ორიგინალების მიხედვით.
Place Valhubert, The Seine at Charenton და Hollow in the snow: Musée d'Orsay, პარიზი-ში წარმოდგენილია ამ გვერდზე მოცემული ნამუშევრების 4 ცალი.
Born Jean-Baptiste Armand Guillaumin on February 16, 1841, in Paris, the man who would become known as Ferdinand Guillaumin spent his early years balancing labor with a quiet interest in drawing. Before he could commit himself to the canvas, he worked in his uncle's lingerie shop. During the evenings, he attended drawing lessons to sharpen his hand. This period of work was interrupted by a stint working for a French government railway, a job that preceded his formal entry into the art world.
In 1861, he moved toward more serious study at the Académie Suisse. It was within these walls that his path crossed with Paul Cézanne and Camille Pissarro. These early connections were not merely passing acquaintances; they were the beginnings of lifelong friendships. The shared experiences of the studio and the lessons learned in those rooms helped shape the direction of his later work.
His brushwork carries a certain certainty, applied with a loose and assured hand. In his early years, he focused on capturing the fleeting effects of light and color, a hallmark of the Impressionist movement. He often worked with oil paint to translate the atmosphere of a scene, whether it was a snowy Parisian streetscape or a quiet riverbank. His approach was never about precise, photographic detail, but rather about the immediate sensation of a moment.
As his career progressed, his use of color became increasingly intense. By 1886, his palette had earned him a reputation for being a furious colorist. He moved away from the subtle, naturalistic tones of his contemporaries, opting instead for a much bolder application. By the 1890s, this shift had become even more pronounced. His colors grew less faithful to the actual appearance of nature, leaning into a heightened, almost aggressive intensity. This evolution suggests he was exploring a path toward Fauvism a full decade before that movement emerged.
The way he handled light often leaned toward the symbolic, using bold hues to evoke a sense of dreamlike mysticism. This tension between capturing a real landscape and using color to express an emotive, internal state defines much of his output. His work often sits between the observation of the natural world and a more subjective, expressive interpretation of it.
Guillaumin moved within the core of the Impressionist circle, participating in six of the eight exhibitions held by the Société anonyme des artistes peintres, sculpteurs et graveurs between 1874 and 1886. His presence in these gatherings placed him alongside the very people shaping the era's visual language. He shared a studio space on the Île Saint-Louis with Paul Cézanne, and the two artists were close enough that Cézanne produced etchings of him. This proximity allowed for a constant, quiet exchange of ideas and methods during the 1870s.
His studio often functioned as a gathering point for a younger generation of painters. Names like Paul Gauguin, Paul Signac, and Georges Seurat were known to meet within his walls, finding a space to congregate. This connection to the emerging avant-garde suggests a bridge between the established Impressionist group and the movements that would follow. Even Vincent van Gogh found much to admire in Guillaumin's approach, holding his work in high regard through numerous letters exchanged between 1888 and 1890.
Much of his output remains held in major institutions across the globe. The Musée d’Orsay in Paris houses 48 of his works, providing a significant look at his development. Among these is Place Valhubert, Paris, which he created in 1872. This piece captures a winter streetscape, showing people walking through a snowy urban landscape near a riverbank.
His focus on the landscape often led him to the banks of the Seine. The Seine at Charenton is another notable work from his collection. His ability to handle light and color is evident in these studies of the natural world and city life. Many of these paintings are preserved in various museums, ensuring his visual language remains accessible to those studying the era.
A shift in Guillaumin's life occurred in 1891. After winning 100,000 francs in the state lottery, he was finally able to quit his government job. This allowed him to concentrate on painting full-time. His palette grew even bolder in the years that followed, moving away from a strict faithfulness to nature toward a style that some saw as a precursor to Fauvism.
His presence in the art world remained steady until his death on June 26, 1927. The works he left behind are held in various collections, including the Musée d’Orsay and the Petit Palais in Paris. His contributions to the Impressionist movement remain invaluable to those studying the development of light and color in the late 19th century.
